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You are here: CollectionsOnline  /  Capricci showing three elevations, two of which are unfinished. The largest shows the tower and entrance façade of a Gothic church with a wing to one side with a short spire. Beside this is an elevation of a classical building with three-bay centre of the Giant Order, shallow dome and linked pavilions. Below is an elevation of a domed building with several pediments and three-bay entrance with thermal window above.
  • image Adam vol.54/Series 4/11
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Reference number

Adam vol.54/Series 4/11

Purpose

Capricci showing three elevations, two of which are unfinished. The largest shows the tower and entrance façade of a Gothic church with a wing to one side with a short spire. Beside this is an elevation of a classical building with three-bay centre of the Giant Order, shallow dome and linked pavilions. Below is an elevation of a domed building with several pediments and three-bay entrance with thermal window above.

Aspect

Elevationsverso elevations

Inscribed

Inscribed in ink 11

Signed and dated

  • Undated, probably 1757

Medium and dimensions

Pen169 x 264

Hand

Robert Adam

Verso

Capricci in pen showing two parts of elevations of a Gothic building, one showing the short spire and heavy fret and crocket work, the other showing the lower part of an elevation of five bays in the same Gothic style. The details are in the style of the building shown in Adam vol.54/Series 4/6 particularly the top part of the central tower.

Watermark

GR and crown

Notes

The tower elevation can be compared with those in Adam vol.54/Series 4/7 and 10. The two large classical compositions are also capricci (see Adam vol.54/Series 6/189).

Level

Drawing

Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

If you have any further information about this object, please contact us: drawings@soane.org.uk

Sir John Soane's collection includes some 30,000 architectural, design and topographical drawings which is a very important resource for scholars worldwide. His was the first architect’s collection to attempt to preserve the best in design for the architectural profession in the future, and it did so by assembling as exemplars surviving drawings by great Renaissance masters and by the leading architects in Britain in the 17th and 18th centuries and his near contemporaries such as Sir William Chambers, Robert Adam and George Dance the Younger. These drawings sit side by side with 9,000 drawings in Soane’s own hand or those of the pupils in his office, covering his early work as a student, his time in Italy and the drawings produced in the course of his architectural practice from 1780 until the 1830s.

Browse (via the vertical menu to the left) and search results for Drawings include a mixture of Concise catalogue records – drawn from an outline list of the collection – and fuller records where drawings have been catalogued in more detail (an ongoing process).